I try to be observant. On my way to lunch yesterday, I caught out of the corner of my eye a sign that, for whatever reason, struck me as the most entertaining thing I'd seen in ages:

NO PLAYING OF MUSICAL INSTRUMENTS, OR DRUMS, ALLOWED

My first thought was that it was some kind of joke. The second was that I really ought to tear it down and give it to the drummer in my band. Sure, everyone's heard the classic drummer vs. musician joke, but to see a form of it printed on a city-sanctioned sign seemed somehow particularly poignant.

But you and I know better than that. Play any skeptic a mere 30 seconds of Steve Reich's Drumming and it's clear that drums can be just as musical as any other instrument, and that drummers can be as talented as those who play more melodic instruments, despite the body odor and various fungal parasites. Membranaphonics seeks to discover the musical talents of many of indiedom's finest drummers, including Don Caballero's Damon Che and Modest Mouse's Jeremiah Green. And while the album succeeds in presenting an intriguing collection of rhythm-based songs, it also suggests that many of the drummers on the compilation would be best suited keeping their burrito-inflated asses on the drum throne.

The high point of Membranaphonics comes with Damon Che's epic, Steve Albini-recorded "Oh, Suzanna," a not surprisingly Don Cab-ish track featuring Che's harmonics-drenched guitar stylings and, more importantly, his signature fucking crazy brand of balls-out drummery. The track is pretty remarkable, and notably, more clean and melodic than most of Don Cab's work as a band. After opening with an array of guitar chords and harmonics, the song segues into an extended drum solo, complete with insane snare rolls, double bass pedal absurdness, and hits in such rapid succession that you'd swear Che was some kind of multi-armed Hindu God. After the solo dies down, the track begins to strongly resemble a more sparse Don Cab, with repetitive guitar parts, and a stable but complex beat. During one of Don Cab's last shows, Damon played a disappointing solo set on guitar, but "Oh, Suzanna" suggests that the world's most talented hyperactive skin-beater won't have much trouble turning out some excellent post-Don Cab music.

Jeremiah Green's untitled contribution is decidedly less structured. Consisting almost entirely of layered, processed drums soaked in reverb, it actually bears a striking resemblance to Califone's "Electric Fence." This untitled track, like many on Membranaphonics, focuses almost entirely on rhythm. In that respect, if the purpose of the compilation was to showcase the "hidden" talents of drummers, it's not quite doing its job. Throughout this compilation, there's an overwhelming sense that the featured drummers are most comfortable doing what they do best.

However, the increased focus on drumming lends itself to some particularly tasty, complex rhythms, as showcased by Shipping News drummer Kyle Crabtree's bright, shuffling "To Drown is to Live." While the song contains a prominent guitar part as well, the true basis for the track is provided by an intricate, well-played drum part. Storm and Stress drummer Kevin Shea's untitled contribution to the compilation is almost entirely composed of his drumming-- a slightly off-kilter jazz feel that makes for some fascinating, if occasionally cold and technical listening.

One of the first things I really came to love about indie rock was the drumming, which has always been infinitely more creative, complex, and generally interesting than what I was used to hearing on MTV and the radio. Membranaphonics showcases the talents of a few drummers I've been really into for a long time (to this day, the drum part to Modest Mouse's "Trucker's Atlas" is one of my favorites). It also gives them a chance to play selfishly without worrying about the rest of the band, and with that comes a series of benefits and pitfalls. But the fact that this compilation manages to stand up as a pretty decent release indicates without doubt that, if used properly, drums can provide an excellent centerpiece for an album. Even a compilation.

-Matt LeMay